Cries and Whispers

"In the screenplay, it says that red represents for me the interior of the soul. When I was a child, I imagined the soul to be a dragon, a shadow floating in the air like blue smoke....But inside the dragon, everything was red." -- Ingmar Bergman

For most of Ingmar Bergman’s career, the decision to shoot in black and white, both before and after Cries and Whispers, has been one of choice and trust. The delight of seeing his vision in color is not simply based on color itself but of his use of it in the film. Like a poet, Bergman decided to look past what color can mean for the eyes alone, to its purpose to help us understand and appreciate life, death, and the soul.

To Joy (Till Glädje)

Few films capture the simplicities of what is important in an artist's life. The title is taken from Schiller's "Ode to Joy," fitting for this story concerning two orchestral players. Stig is a dissatisfied musician, hating the idea of living in mediocrity, while Marta is a beautiful lady who basks in the simple joys of life. She steals Stig's hardened heart in spite of himself, and they eventually get married. He struggles with his ability to play as a violin soloist. His ambitions consume him to the point where he loses sight of his wife's patience and care. We've all seen this inner torment from the viewpoint of a husband/musician plenty of times – any biopic of an artist will tell that story. Yet what stands out about this film is Bergman's ability to portray the main character in all his flaws and weaknesses, and there's absolutely no glamour or flashiness attached. The result? Honest, rich sentiment.